E0499 Fogra Softproof Handbook

Fogra
Softproof
Handbook
Fogra Graphic Technology Research Association
Streitfeldstrae 19 81673 Mnchen
www.fogra.org
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Tips and background information
for colour reliable work on screen
This handbook is the result of current investigations from the Fogra research project, Creation and investigation of a
softproof workstation. It refects the most recent experiences and test results. Due to new software versions and relevant
fndings, it has been planned to produce an updated version of this handbook in the near future. In the meantime, updated
content can be found on the website at: research.fogra.org. This website has information on current projects, and in the
download centre, programs and further instructions on softproofng.
The publication of this handbook, especially in parts requires prior consent by Fogra. In general we welcome the circulation
of the complete handbook.
We would like to especially thank the project acompanying committee for assisting us in this research project:
Michael Adloff twentyfour seven digitale pre press services gmbh
Thorsten Beermann K-Flow GmbH
Dr. Ralf Biering Mediahaus Biering GmbH
Nial Coady Targetcolour UK
Armin Collong Eizo / Avnet Technology Solutions GmbH
Markus Cornely NEC NEC Display Solutions Europe GmbH
Chris Edge Kodak
Florian Fejfar MAN Roland Druckmaschinen AG
Detlef Fiebrandt Colour Consulting
Michael Gall JUST Normlicht GmbH
Stephane Georges Dalim
Johannes Haas Meyle-Mller
Franz Herbert ICS Color
Dr. Patrick Herzog Onevision Software AG
Markus Hitzler Colour Solutions
Dr. Hanno Hoffstadt GMG
Andreas Holst NEC Display Solutions Europe GmbH
Stephane Jamin LaCie
Oliver Kammann K-Flow
Kevin Kotorynski Kodak
Raimar Kuhnen-Burger Quatographic Technology GmbH
Bodo Langkowski GTI
Wolfgang Maske Dalim
Daniel Mayer LaCie
Roland v. Oeynhausen Otterbach Medien KG GmbH & Co
Christopher Parker NEC NEC Display Solutions Europe GmbH
Thomas Richard Richard EBV
Bernd Rckert CGS
Cristina Stoll Rochester Institute of Technology
Florian Sl MetaDesign AG
Roland Thees IFRA
Andy Williams IFRA
Shoichi Yamaguchi Eizo
Fogra Softproof Handbook Version 1
The project Creation and investigation of a softproof workstation (Fogra Nr.
10,047) was developed by the means of the federal ministry for economy and
technology by the team of industrial research unions Otto of Guericke e. V.
(AIF) promoted (AiF Nr. N07316/06).
3
Contents
Take Home Message .............................................................................................................................................. 5
1. Parameters for Softproofng .......................................................................................................................... 6
1.1 What is a Softproof? - Practical Scenarios ..................................................................................... 6
1.2 Fundamentals of Softproofng ............................................................................................................ 8
1.3 Setting Up a Softproofng Work Station ....................................................................................... 12
1.4 MAC or Windows: What is there to consider? ............................................................................ 15
1.5 Measurement Devices for Softproofng ......................................................................................... 17
1.6 Displays (Monitors) .............................................................................................................................. 19
1.7 Viewing Conditions: Evaluation of Standard Lighting ........................................................... 24
2. Softproofng Settings in Software Programs ........................................................................................ 26
3. Calibration: Step-by-Step ........................................................................................................................... 30
4. Hands on: Softproofng of RGB and CMYK Images with Adobe Photoshop ................................ 34
5. Fundamentals and Concept Explanation ................................................................................................ 37
5.1 Description and Measurement of Light (Photometry) ............................................................... 37
5.2 Illuminant, Chromaticity, and Correlated Colour Temperature ............................................... 39
5.3 Gamma and its Disguises ................................................................................................................... 40
5.4 Matrix or LUT (Lookup Table Profle) ...............................................................................................41
6. Annex .................................................................................................................................................................42
4
It works,
if you know what to do!
5
Take Home Message
Target Settings for Calibration*
RGB
Gamma: According to the
Working Space
Colour Temperature: 5000 - 6000 K
Luminance: 160 cd/m
2
CMYK
Gamma: L*
Colour Temperature: 5000 - 6000 K
Luminance: 160 cd/m
Default Settings in Photoshop*
Example for RGB Printing Example for Conventional Printing
Print Preview*
* The indicated values are practical recommendations. They can be used as a working example in many cases. However, they do not represent the best values for all situations, and
therefore, are not to be regarded as a the Fogra recommendation. This guide provides extensive background knowledge and many tips for the optimal values to use.
+
visual
adjustment
towards the
print
Hint!
Absolute colorimetric provi-
des the correct CIELAB data
with the Info palette. Please
use Convert to Profle for
image separation, because
changing the image mode (e.g.
Image > Mode) does
not give you a pre-
view and control of
the conversion
options.
Take Home Message
6
Today, even complex jobs are constantly
being produced at a quicker rate in the
printing industry. Due to time and cost,
high-quality printed product is more
and more required. Therefore, even as
early as the creative agency or data
entry, preparation with respect to the
colour results is to be carefully judged.
For digital proofs, the Ugra/Fogra Media
Wedge CMYK V.2/V.3 serves, nationally
and increasingly internationally, as a
control strip. With this control strip,
it can be guaranteed that the proof
is colour reliable for the embedded
printing condition, such as FOGRA39.
Additional information is found in Fogra
extra No. 16 How about the colour
reference in digital printing (http://
fogra.org/products-en/download/Extra-
16web.pdf). If there is no control wedge
on the proof or the tolerances are
exceeded, a colorful print is considered
to be non-binding. This digital proof
enables advantages over the classic
on-press proof, in terms of time, quality,
and cost. Proofers, proofng material,
colour measuring instruments, and
software are required for such a system;
moreover, it is important to calibrate
regularly.
In the daily comparison of proof and
print, it is assumed that the print will
be subjected to production tolerances.
Even so, it is required that the techno-
logy related to the simulation is at least
equal to the process it is simulating,
in particular, compared to the colour
gamut to be simulated. With softproo-
fng, this expense could be diminished,
which could provide further cost and
time advantages. Softproofng can be
more concretely defned as the follow-
ing:
Representation of an image produced
using a monitor with the purpose of
showing the results of the preparation
(colour separation) process in such a
way that closely simulates the results
of the intended output (printing) condi-
tion. (ISO 12646)
The question remains about the mea-
ning of close.
Colour-Matching Practice -
Three Scenarios
The practice of colour-matching in
the graphic arts industry is very multi-
faceted, but should be represented here
in three typical scenarios. These differ
essentially through the object being
examined and/or the respective viewing
conditions.
Scenario I
Colour-Adjustment on Screen -
Photographers Workfow
The colour-matching at the beginning
of the production process is not yet
defned by a particular standard. The
colour-matching object in this sce-
nario is a digital image; regardless of
whether it came from a digital camera
or was developed on screen, the task is
to guarantee a colour accurate screen
representation of this digital fle on a
screen that has been correctly adjusted
and calibrated on a regular basis.
1. Parameters for Softproofng
1.1 What is a Softproof? - Practical Scenarios
Figure 1: Typical viewing scenario in Photographers
Workfow
Parameters for Softproofng - What is a Softproof? - Practical Scenario
7
Scenario II
Comparison of Screen and Viewing
Booth - Conventional Reproduction
Workfow
Typical objects of the second scenario,
such as textiles, prints, photos, and
proofs are supposed to be adjusted on
screen and/or serve as a reference for
the reproduction. Most frequently, it
is used to create a simulation of the
original print according process stan-
dard offset printing (PSO). Typically, the
screen and viewing booth are located
directly next to each other, see Figure 2.
This is the Conventional Reproduction
Workfow where the screen and vie-
wing booth are mutually adjusted. The
viewing booth is dimmed and the moni-
tor calibration can be visually fnetuned.
In a closed-loop system, this scenario
works quite well, because each part can
be adjusted based on each other. Even a
lamp replacement of the viewing booth
will not be critical, because the monitor
can be adjusted/fnetuned accordingly.
In this second scenario, the highest
quality standards for the agreement
between monitor and print are deman-
ded.
Scenario III
Colour-Judging at the Final Stage -
Printers Workfow
The third scenario is relatively new in
the printing industry and, therefore,
not much scientifc research has been
performed yet. The object of the colour-
matching is the fnished printing pro-
duct.
As opposed to the conventional process,
this standardized procedure (PSO), in
which a contract proof represents the
reference at the press console, the moni-
tor representation serves as a colour
reference. Such systems are also used for
image inspection. A typical construction
is shown in Figures 3 and 4.
The screen is fxed to a mobile arm and
illuminated by the background illumina-
tion as well as the viewing booth.
Figure 2: Typical viewing scenario in Conventional
Reproduction Workfow
Figure 3: Example of a pressroom console with an
integrated screen
Figure 4: Example of a pressroom console with an
integrated screen
Hint!
Process Standard Offset
Printing (PSO) = ISO
12647-2 + practical
guidelines +
explanations
Parameters for Softproofng - What is a Softproof? - Practical Scenario
8
Difference between colour conversion
of data to the target colour space and
colour conversion for display
It is important to understand the colour
conversion chain in softproofng which
is explained in the following. All digital
fles have a starting point, for example,
from databases, digital photography, or
creation on screen. They normally use
a device dependent colour space. This
usually includes the use of greyscale
(K), RGB, and CMYK colour values (e.g.
driving values). To understand colour
conversion, it is very important to diffe-
rentiate between the colour conversion
of the fle (e.g. separation from an RGB
working colour space to a CMYK colour
space for output) and displaying this
separated fle on screen. The frst
step is usually done by means of one
of two different rendering intents, eit-
her perceptual or relative colorimetric
using black point compensation. The so
converted (separated) images are then
to be converted to the display profle.
This twofold conversion is illustrated
by the Proof Setup dialogue box in
Photoshop.
First step: Data colour conversion to
target colour space
The settings in the upper black box in
Figure 5 pertain to the colour conver-
sion of the data to the target colour
space. This will often be an output pro-
fle i.e for offset printing. In the exa-
mple screenshot below, the perceptual
transformation is made with respect to
the printing condition FOGRA39, (e.g.
offset printing in accordance with ISO
12647-2). For this printing condition,
we normally recommend data prepara-
tion for typical subjects with the indus-
try profle of the ECI: ISOcoated_V2.icc.
Second step: Colour conversion to the
display
The resulting CIELAB tristimulus values
after the frst conversion are then sub-
ject for the conversion to the display
profle. The CIELAB values are result of
an intermediate step and can not be
seen for them self. In a typical soft-
proof setup one wants to simulate the
paper white of a substrate on screen.
Therefore the conversion to the display
profle will make use of the absolute
colorimetric rendering intent. This is
achieved by selecting the option simu-
late paper color in the second black
box in Figure 5. When no simulation of
paper white is needed the the relative
colorimetric intent will be choosen for
the display on the monitor. Deselect
Simulate Paper Color in this case. In
addition deselecting Simulate Black
Ink in Display Options (On-Screen)
will make use of Black Point Compen-
sation for the colour conversion to the
display.
It should be noted that both the colour
conversion of the data to the target
colour space and the following colour
conversion to the display profle are
done on the fy and are not saved to the
data. In a later stage although the data
normally will be converted to the target
colour space which was used in the
softproofng setup explained here.
From driving values to colour values
To achieve a colours reliable display
on screen the data has to be defned
colorimetrically. Similar to the use of a
dictionary, through the use of ICC pro-
fles, it is possible to calculate device-
independent CIE colour values from
device-dependent values such as RGB
or CMYK.
1.2 Fundamentals of Softproofng
Figure 5: Photoshop Softproofng Dialouge Box: Data separation (upper black box) and transformation to the display (lower black box)
Note!
In this document, for the
sake of simplicity, the
driving values will
be designated as
colour values.
Parameters for Softproofng - Fundamentals of Softproofng
9
Image Data Representations:
When a fle is displayed on a monitor,
from a colorimetrical point of view,
there are four ways that the colour
values can be represented.
1. Monitor representation without
colour management
The frst way is to send the RGB values
of the fle without any changes to the
monitor. This happens, for example,
in programs, such as the Windows
Desktop, which is shown in Figure 6 as
direct representation. It is suited for
situations in which colour is not binding
because based on the different colour
behavior of the devices, the same fle
will always look somewhat different. In
the next version of this handbook, we
will review which applications support a
colour managed monitor.
Ergo:
Preparation: none
Representation: RGB-Data displayed
unaltered
(keep numbers)
2. Normal View in Adobe Photoshop
This representation is used most fre-
quently in the graphic arts industry.
Adobe Photoshop is considered the
defacto software standard for photo-
graphers. With this, the RGB values are
converted to the display profle with the
relative colorimetric intent with black
point compensation. For example, the
RGB values 227, 0, 15 in sRGB corre-
spond to the CIELAB colour values 48,
74, 60. In the background, a relative
colorimetric conversion to the screen
profle occurs. Here, the screen profle
of a MacBook Pro Colour-LCD.icc with
black point compensation delivers the
RGB values 250, 0, 0. These values are
sent to the graphics card. This leads
to an optimum (contrasty) represen-
tation in the sense of the utilization
of the available screen contrast. For
the colour-binding representation of
print fles, this method is not suitable
because the colour values of the fle are
represented as either very bright and/or
dark because the photo contrast is com-
pletely scaled to the monitor contrast.
Due to this, a representation is displayed
that may possibly contain a darker black
and lighter white than the original data.
However it should be noted that this
method achieves a colorimetric match if
a hardware calibration set the monitor
white and black point to the CIEXYZ of
the printing condition to be simulated.
Practically this method is sometimes
used to get a fairly accurate representa-
tion with the standard mode (normal
view) of image represenation in Adobe
Photoshop. This method although limits
the versatility of the monitor calibra-
tion, because all applications, regardless
if colourmanaged or not, will show the
simulated paperwhite. This approach is
not recommended in general.
In Figure 7, this effect is shown with
the example of black. On the left an
absolute colorimetric match of the black
patch (CMYK = 0, 0, 0, 100) is shown.
On the right is the result of the nor-
mal-view representation. Due to this,
the danger arises that shadow areas in
the photos will be incorrectly displayed
and judged and therefore modifed or
left untouched.
Ergo:
Preparation: none
Representation: Relative Colorimetric
with blackpoint
compensation
Figure 6: Principles of colour conversion
Figure 7: On the left, printed black. On
the right, monitor black.
10
3. Colour accurate representation
without printing process simulation:
Photographers Workfow
For RGB retouching, Photoshop automa-
tically uses the monitor profle for image
rendering (using relative colorimetric
including black point compensation).
Therefore, no further intervention is
necessary. The monitor should cover a
suffcient colour gamut (wide gamut
monitors that can better cover Adobe
RGB or ECI-RGB V1/V2). In addition, a
print preview can be used as necessary.
For example, it can be used for the
paper white simulation using a personal
inkjet printer (see fgure 8). See Figure
9 to determine where to store settings.
If you choose a profle before you open
your photos, it becomes the default (see
Figure 10). The standard printing preview
can be activated and deactivated with
keyboard shortcuts
(Command + Y / Control + Y).
Ergo:
Preparation: Perceptual
Representation: Absolute Colorimetric
4. Absolute Colorimetric Representa-
tion With Printing Process Simulation:
For the so called Reproduction Work-
fow, the ICC profle of the intended
printing condition is used as a simula-
tion profle. For this processing (sepa-
ration), there are two practically used
methods; one is perceptual and the
other is relative colorimetric with black
point compensation. With respect to the
choice of rendering intents, for example,
in Photoshop (see Figure 11), it is to
be noted that the conversion of CMYK
applies virtually in the background.
Ergo:
Preparation: Perceptual
(see Figure 11) or
relative colorimetric
with black point
compensation
Representation: Absolute Colorimetric
Figure 11: Proof Set-up dialogue box in Photoshop
Figure 9: Stored setting
Figure 8: Setting without name
Figure 10: Standard setting
11
Proofng of CMYK Data
It often occurs that already prepared
(separated) fles must be reviewed on
screen. In this case, the processing and
correct representation must be done on
screen. In order to simulate the image
data as it would be printed without
colour conversion, the option to Pre-
serve CMYK Numbers in Photoshop
must be activated. An example is shown
in Figure 12.
Figure 12: Photoshop setting for the proofng of CMYK colour values
12
The set-up process can be outlined in
the three following steps: calibration/
adjustment, characterization, and pro-
fling. An additional validation step is
considered optional and will be descri-
bed in Chapter 3.
Calibration/Adjustment
In the frst step, the hardware is adju-
sted by using a colour measuring instru-
ment and further methods (test fles,
reference prints, visual fnetuning etc.)
to meet the desired target (aim) values.
Characterization
After the screen has been optimally
adjusted, test colours are displayed on
the screen and colorimetrically mea-
sured. As a result, characterization data
has been produced (typically as tabula-
ted data).
Profling
In the last step, the calculation of the
ICC monitor profle is done based on
the characterization data (measured
before). Furthermore, user dependent
options are also considered in the pro-
fle creation.
In the following, these three steps are
described in greater detail.
Calibration: Hardware or Software?
Calibration
Calibration comprises all adjustments
and (active) methods necessary to reach
desired aim values such as white point,
gradation, and luminance. Hereby, both
a smooth rendition of the lightness
scale and the utilization of the techni-
cal possibilities of the pertinent device
must be taken into consideration.
Two Categories of Rendering
The representation of images on the
monitor is infuenced by many parame-
ters, such as the type of screen, graphics
card, DVI cable, operating system and/or
driving software. Figure 15 shows typi-
cal interfaces.
In Figure 14, a logic classifcation of the
driving is shown. This symbolizes the
characteristic fow of the colour trans-
formation from the right to the left.
The main components are defned in the
following:
ICC profle:
First the image data is passed to the ICC
profle. This is done by the program (e.g.
Photoshop) used including the utiliza-
tion of the monitor profle made availa-
ble by the operating system.
Graphics Card:
Most graphics cards allow the individual
modifcation of the red, green, and blue
channels using different bit depths. The
concept of how these are used is impor-
tant for the overall quality of the entire
colour management chain.
Screen (display, monitor):
Modern screens offer the possibility
for hardware calibration of the display
panels both with adjustment possibi-
lities at the user interface (On Screen
Display) or via software activation.
Hereby, the amount of the steps is
important (e.g. 8, 10 or 12 bits) see
Figure 13, since it determines the accu-
racy of the needed adjustments. It is of
great importance to optimize the inter-
play of hard- and software (communi-
cation for example via DDC) in order to
achieve the desired target values (white
point, gradation, luminance).
A hardware calibration is, therefore,
considered to be the preferred case if
the necessary corrections (in order to
achieve the aim values) can be done
where the highest accuracy is available
(monitor LUT). Corrections should be
carried out with the highest accuracy
Display Graphic Card ICC-Profile
Figure 14: Principle representation of the three most important components for the fnal image quality.
Original Data
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C
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Dark Light
Original Data Dark Light
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Figure 13: Comparison of 8-bit and 10-bit data
representation
1.3 Setting Up a Softproofng Work Station
Parameters for Softproofng - Setting Up a Softproofng Work Station
Calibration:
Set of operations that establish,
under specifed conditions, the
relationship between values of
quantities indicated by a mea-
suring instrument or measuring
system, or values represented by
a material measure or a reference
material, and the corresponding
values realized by standards [ISO
International Vocabulary of Basic
and General Terms in Metrology]
13
possible, particularly in the LUTs of the
screen.
In case no hardware calibration is
available the necessary corrections
must be carried out consequently by
using the possibilites provided by the
graphics card or by means of the ICC
monitor profle. In the optimal case of a
hardware calibration the transfer func-
tions of the graphics card and the ICC
display profle are linear. Since graphics
card normally have a lower bit-depth
(often 8-bit) than the monitor LUTs, the
software calibration is usually qualita-
tively not as optimal than the hardware
calibration (see Figure 16).
Figure 16: Comparison of hardware and software calibration
Hardware or Software calibration?
Hardware
Software
Current
Aim
R G B
0
255
8745 K
R G B
0
255
5000 K
R G B
0
255
8745 K
Lost (nor more
usable)
All adjustments via
software (8-Bit)
R G B
0
255
5000 K
All adjustments via
hardware (8-Bit+)
v
DV- 2Dpin
The Shapes and types of video connector
Connectors on the monitor
PC Video Conectors D-Sub 15 DVI-I DVI-D
Macintosh D-Sub 15 pin
ADC
1

2
DVI-I
Windows D-Sub 15pin
DVI-I
DVI-D
Analog conneclion Digilal conneclion No conneclion
v
ADC
v
D-5ub 1Lpin
v
DV-D 2^pin
Figure 15: Form and types of different video connectors

Software calibration: On
a laptop there is mostly
no access to the screen
LUTs.
Expert Tip:
There are several DDC versions:
In the simple version DDC1, the
known data of the monitor is
transmitted unidirectionally and
permanently as so called EDID data
to the graphics card. The informa-
tion contains records as long as
128 bytes, which standard solu-
tions and DPMS modes support.
The screen size and the manufac-
turer statement are also known.
The version DDC2 supports bidirec-
tional communication and enables
interaction (e.g. based on colour
reading during the calibration, and
therefore, hardware calibration, the
display behavior can be altered).
14
Characterization
Characterization links the device depen-
dent control (driving) values to their
corresponding measured device ind-
pendent colour values. This means that
for the screen measurement, the RGB
values to be sent via the application to
the graphics card are compared to the
measured CIEXYZ or spectral data (see
Figure 17). This is the basis for the crea-
tion of the monitor profle. The amount
of the test patches to be used depends
on the characteristic of the screen.
Older cathode ray tubes (CRT) behave
roughly in a linear function, in the sense
of the additive colour mixture. For this
reason, less test colours are necessary
for a suffcient colorimetric description
in comparison with modern LCD screens.
Without correction performed by the
manufacturer, many LCDs show worse
linearity, so for a suffcient characteri-
zation several test colours are necessary.
Profling
At the last step, with the goal of an
optimum colour description (fngerprint)
of the screen, an ICC profle is genera-
ted based on the characterization data.
This means that both the forwards (RGB
to CIEXYZ) and the backwards direction
(CIEXYZ to RGB) must contain a high
quality transformation. The ability to
have both transformation directions at
a high accuracy level is of great impor-
tance for softproofng. This is shown in
Figure 18 by an example. An RGB fle
with an ECI source profle is supposed
to be represented in an absolute man-
ner on screen. In the frst preparation
stage, the data has to be transformed
to CIEXYZ. To transform the colour
values corresponding RGB values must
be found for all colour values that lead
exactly to the CIEXYZ colour values
calculated before. For that reason, the
backward transformation (CIEXYZ to
RGB) is necessary. On the other hand, to
simulate the representation of an RGB
fle on different screens, the forward
direction is required.
Matrix or LUT?
The ICC profle format specifcation
gives references of how to store a
colour transformation digitally. Two
different methods are used:
- Transformation with tone value
reproduction curve (TRC) based on a
matrix [MATTRC]
- Multi-stage, Look-Up-Table [LUT]
based on transformation with multi-
dimensional tables, matrices and tone
value reproduction curves for every
input and output channel
As a rule of thumb, the user should
follow the recommendations of the
manufacturer of the calibration system.
In case no recommendations are given,
both a LUT and a matrix profle should
be created and evaluated visually.
Generally, LUT profles can better mimic
non-linear system behavior. A technical
validation is a valuable recommendation
and should be performed in addition to
the fnal visual evaluation of the display
calibration. The validation should be
repeated in regular intervals in order to
be able to recognize a variation of the
softproofng system.
Figure 18: Photoshop setting for proofng of CMYK colour data
Figure 17: RGB characterization data generated by ProfleMaker
15
Today, in digital image preparation the
choosen operating system generally
doesnt play an important role. Files
can be exchanged primarily without
problem between the Windows World
and the Mac World. Nevertheless, for
softproofng needs, there are some plat-
form dependent details to consider. The
following has references to up-to-date
available operating systems of Apple
[Mac OS X from 10.3] and Microsoft
[Win2000, WIN2003, Win XP], see
Figures 19 and 20. Older operating
systems are not discussed here.
Colour Management in Windows Vista
At this point, no recommendations can
be provided due to lack of investiga-
tions.
Where do I deposit ICC profles?
Mac OS X
Under Mac OS X, there are four places
where the system stores ICC profles.
This often enables a user to have speci-
fc storage of ICC profles (e.g. industry
standard RGB and CMYK profles), see
Figures 21 and 22. The monitor cali-
bration software usually puts the ICC
profles automatically into one of these
folders. Some solutions permit the
choice of folder location. Yet, in addi-
tion, profles are found in the System
folder and in the Library Application
Support folder.
Windows
In Windows, the profles are located
under the following path: C: \windows\
system32\ spool\drivers\colour. The
monitor profle can be set in the display
options of the operating system (see
Figure 19).
The monitor calibration software auto-
matically deposits the ICC profles in
this folder. If one would like an addi-
tional profle, for example ECI RGB or
ISOCoated_V2, it can be installed using
a right mouse click on the flename
and selecting install profle. Through
this, the profles are copied automati-
cally into the correct folder, and also,
the profles are made known to the
system.
Special Options in Mac OS X
For calibration and profling under
Mac OS X, it must be noted that in the
System Preferences (see Figure 23) the
contrast setting is set to normal. It is
recommended that the user deactivates
the relevant keyboard shortcuts, since
the contrast setting can be easily chan-
ged by mistake otherwise.
Figure 21: Under my hard drive (/Library/ColourSync/Profles) profles that are available to every user of the computer
can be found.
Figure 22: User specifc profles are found under my hard disk (/User/My User Name/Library/ColourSync/Profles)
Figure 20: Selection of the monitor (display) profle under Mac OSX
Figure 19: Selection of monitor profle in Windows XP
1.4 MAC or Windows: What is there to consider?
Tip:
Folders should contain only the
most updated and relevant profles.
This will help diminish the danger
of the incorrect use of profles.
Parameters for Softproofng - MAC or Windows: What is there to consider?
16
Using More Than One Display
It is common in the graphic arts to work
on more than one screen (see Figure
24). The second monitor is often desi-
gnated as a palette monitor where the
toolbars are desposited, and therefore,
the total area of the main monitor is
available as a work area. But the second
display might also be a Plasma TV that
should match the primary display. For
a correct representation, both screens
should be calibrated.
Windows XP permits only one ICC pro-
fle per graphics card. There is, however,
three possibilities for several monitors
to operate and the ICC profles to be set
correctly.
1. Two Graphics Cards - Connection
of the Second Monitor at Second Gra-
phics Card
If the cards are the same or come from
the same chip manufacturer, this will
be much more simple. Under Windows
Vista, the graphics card chips must be
from the same manufacturer because
generally Vista cannot simultaneously
work with different graphics card dri-
vers.
2. Dual-head graphics card simulating
to the OS to behave like two separate
graphics cards
With this, an ICC profle is allowed for
every output connector. This seems to
be the best possibility, as it offers more
screens for use. There are relatively low-
priced and simple graphics cards (e.g. by
Matrox) that offer this possibility.
3. Microsoft Colour Control Panel
Applet for Windows XP
This is available free of charge under
http: //www.Microsoft. com/downloads/
details. Aspx?FamilyId=1E33DCA0-
7721-43CA- 9174-7F8D429FBB9E&disp
laylang=en. The Colour Control Applet is
shown in the system control and allows
to assign ICC profles to certain devices,
also several monitors. Aside from this, it
permits a simple administration of the
ICC profles and has a gamut viewer.
For multi-monitor use, one should read
the documentation of the program and
should proceed accordingly. The disa-
dvantage of this solution is that in the
OS colour settings, only one profle is
shown. Though it is not easy to check
if and for which monitor a profle is
active; in this case, so-called test pro-
fles can be used to gather that infor-
mation. This is a simple no-cost solu-
tion, but error prone and therefore only
recommended for experienced users.
Figure 23: Screenshot of the optimal operational settings
Operating system
Display 1 Display 2
Figure 24: Example of double screen setup
Hint!
If only one screen is
calibrated, there is a
danger that the different
white points change
adaptation state
of the eye.
Parameters for Softproofng - MAC or Windows: What is there to consider?
17
For high-quality softproofng, the use of
a colour measurement devices is neces-
sary. It has been proven that the human
eye has an excellent gift for seeing
colour difference, however, it is very bad
in the absolute estimation of the colour
(based on colour memory). In this sec-
tion, after a short survey on the subject
of colour measurement, the use of prac-
tical colour measuring instruments is
introduced.
Brief Introduction to the Colour Mea-
surement of Self-Luminous Objects
The colour measurement of self-
luminous objects, like a monitor, is
done without a white standard, which
is necessary for the refection mea-
surement as a reference, see Figure 25.
Basically, the emitted light is weighted
by the Colour Matching Functions (CMF)
of the eye (e.g. 1931, 2 degree, normal
observer) followed by a suitable norma-
lization (e.g. Y = 1 for the white point).
Colorimeter and Spectrophotometer
For colour measurement, there are
basically two different methods: the
colorimeter and the spectrophotometer.
Colorimeters have built-in flters, aiming
for an optimal ft against the CMF (see
Figure 26). Therefore, they are designa-
ted as flter measuring instruments. The
accuracy of the flter adaptation to the
CMF indicates quality of the instrument.
A typical colorimeter is shown in Figure
29.
To determine the CIEXYZ colour values,
the transmitted light is separated
directly into single spectral areas and
applied with further correction pro-
cedures, such as 3 by 3 matrices. The
latter are dependent on the screen,
and according to the monitor type (and
backlight) used, different corrections
might be necessary.
Based on the different spectral cha-
racteristics of modern screens with lar-
ger colour gamuts, a different correction
is necessary for different LCD screens.
The resulting CIEXYZ colour values can
be roughly interpreted as follows:
- the X component corresponds with
the red channel
- the Y component corresponds with
the green channel and simultane-
ously, the luminance
- the Z component corresponds with
the blue channel
Spectrophotometers function under
another principle. The transmitted light
is dispersed by means of a prism or
a diffraction grating into its spectral
parts. The weighing with the CMF is
often done by means of a software
program in the measuring instrument.
A spectrophotometer is shown in Figure
28.
Figure 25: Colour measurement: Self-luminous and
object colours.
Figure 26: Schematic representation of the functional
principle of a colorimeter.
Self-luminous
colours
Object colours
light
Human visual
system
object
Bildquelle: Konica Minolta
Filter (3 or more channels)
Display
Figure 27: Measuring instrument confguration with
ProfleMaker.
1.5 Measurement Devices for Softproofng
Hint!
A defnition and the
explanation of the diffe-
rence between spectral
radiometer, and spec-
tral photometer can
be found on page
37.
Hint!
For information on
emitted light and emis-
sive measurement, see
Figure 27.
Expert Tip:
Compliance of the Luther Condition
Expert Tip:
The spectral characteristics include
the interaction of narrow-band
emission of the background illumi-
nation (CCFL or LED), the spectral
transmission characteristics of the
colour flter within the LCD panels
and the respective flter curve sensi-
vities of the measuring instrument.
Expert Note:
In order to maximize saturation the
spectral radiances become spectrally
more and more narrow and peaky.
Strong problems arise, when the
peaks overlap the steep parts of the
CMFs. This strongly challanges the
correct measurement of fat panel
displays.
Problems arise if no energy is emit-
ted in those gaps where the CMF
have sequential overlaps. A slight
change in the emitted light might
cause a dramatically different colour
appearance.

Parameters for Softproofng - Measurement Devices for Softproofng
18
Please note that the distinction bet-
ween hand measuring instruments and/
or laboratory measuring instruments
is not made here. Essentially, the
laboratory measuring instruments are
indicated by improved optics, better
temperature stability, and higher qua-
lity of flters and/or spectral resolution
(sampling).
How do spectrophotometer and spec-
troradiometer differ?
In this section, the difference between a
spectroradiometer and a spectrophoto-
meter will be explained. The difference
between both device types is that they
measure different quantities. A spec-
troradiometer measures radiometric
(energetic) quantities. For example, like
power per wave length (watt/nm) on a
receiver. Consequently, a costly calibra-
tion is necessary.
Spectrophotometers are substaintially
more simply constructed. They measure
relative quantities (ratios), such as the
refection factor. For this, they require
one (white) reference with a given
refection factor. This reference can
be the paper substrate (as for relative
density measurements) or the perfect
diffuser for colorimetric measurements.
For example, the i1 Pro is a spectro-
radiometer because it measures the
radiance emitted by the display. For
ambient illumination measurement, this
absolute calibration is also required.
The SpectroEye or SpectroDens are typi-
cal spectrophotometers because they
always require a reference. In colorime-
try, the refrerence white is the built-in
white tile, and in densitometry, the
paper or the reference white (relative vs.
absolute densities).
Operation in Practice
The use of the colour measuring instru-
ments is relatively easy. Most devices
have a USB connection, so that after
a driver installation, the device is ope-
rational. At the beginning of every
measurement, according to device type,
a black calibration may be necessary.
For this, the instrument is placed on an
opaque area, so that no light will reach
the sensor. The calibration software nor-
mally will give guidance how to do the
black calibration for a specifc device.
Colorimeter Spectrophotometer
Advantages compact spectral information
low-priced
no correction of different
display types necessary
good signals to noise ratio
maintenance through the
manufacturer
Disadvantages no spectral information
Measurement of dark colours
might be problematic
Table 1: Basic advantages and disadvantages in the comparison of colorimeter and spectrophotometer
Figure 29: Image of typical colorimeter
Figure 28: Image of a spectrophotometer
Hint!
Explanations of XYZ
colour values can be
found on page 37.
Parameters for Softproofng - Measurement Devices for Softproofng
19
The term monitor can be summarized
as a device that transfers an electric
signal into an self luminous colour
image. Monitors exist in the middle or
frst stage of each softproof job, and are
used to display colours through additive
colour mixture (primaries of red, green
and blue). Based on the decline of CRTs
in daily practice, they are not reviewed
in this handbook in detail. Rather the
focus of this handbook lies on LCD
screens, whereby only the relevant por-
tion of the technology is overviewed.
LCD screens using liquid crystals fuids,
which possess, at a certain temperature,
characteristics that are only otherwise
found in crystals. Thus, they can show
double refraction (e.g. different index of
refraction for different levels of polari-
zation). Those optical characteristics can
be controlled by electrical or magnetic
felds.
If a thin layer (a few micro meter)
of liquid crystal is put between two
glasses, on which transparent electrodes
are mounted, the transmittance can be
altered through variation of a controlled
electric voltage. In addition, crossed
polarizers must be mounted as shown
in Figure 30. Transparent thin flm tran-
sistors (TFT) utilize the voltage for each
pixel, and therefore regulate a screen is
often called a TFT screen.
By these fltering functionality the
permanent background illumination is
darkened more or less on a pixel by pixel
basis. If one applies colour flters now
on the surfaces of the individual pixels,
then a colour monitor is established
governed by the laws of additive colour
mixing.
LCD vs. CRT in a nutshell
Modern LCD monitors show an advan-
tage in respect to their colour rendering,
temporal and local homogeneities,
improved picture distortion, as well as
the maximal luminance in comparison
to the CRT monitors. Further characte-
ristics, such as being ficker-free, being
immune to electromagnetic felds, and
the slight weight, make it increasingly
more popular for the prepress work.
Figure 30: Basic construction of an LCD screen. Source: EIZO
1.6 Displays (Monitors)
Parameters for Softproofng - Displays for Softproofng
20
Format and Homogeneity
A basic criterion for softproofng dis-
plays is the display format. While large-
format inkjet printers already reach the
necessary size for proofng, the maximal
format of screens is limited. Typically,
the common screen diagonal has a
maximum of 30 (76cm). With a 22
(56cm) fat screen, two A4 pages can
be completely displayed, see Figure 31,
and for examples, see Table 2.
For large images, the uniform repro-
duction over the entire screen is of
great importance. Ultimately, it should
make no difference whether a picture
is displayed in the left upper or right
lower corner. In Figure 32, a software,
in which the homogeneity of a monitor
can be evaluated, is shown.
The objective assessment of the level
of uniformity is subject to ongoing
research. Here image distortion on a
micro and macro scale come into play
such as Mura. Currently the human
eye is the best judge for any kind of
homogenity problems. The shown 3x3
assessment is a good starting point
and gives a frst, general idea.
Diagonal Aspect Ratio Pixel Matrix Size [cm]
19 / 48 cm 5:4 1280 x 1024 37.7 x 30.1
20 / 51 cm 4:3 1600 x 1200 40.8 x 30.6
21 / 53 cm 4:3 1600 x 1200 43.3 x 32.5
22 / 56 cm 16:10 1920 x 1200 47.4 x 29.6
24 / 61 cm 16:10 1920 x 1200 51.9 x 32.4
26 / 66 cm 16:10 1920 x 1200 54.9 x 34.3
30 / 76 cm 16:10 2560 x 1600 64.6 x 40.4
Table 2: Typical sizes and accompanying solutions of LCD screens
DIN A4 DIN A4
Figure 31: Example of a monitor with a wide display
Figure 32: Capture of a homogeneity measurement
Hint!
Panel: The actual module
of a fat screen. Mura:
Japanese expression for
mistake - where
all is possible
21
Colour Gamut
Another important characteristic of a
monitor is its colour gamut, which is
fundamentally made of the primaries, in
a 3 channel display (red, green and blue)
and the white point. These are deter-
mined in fat screens through the inter-
action of the background illumination
and transmission through the flter. For
all printed colours to be simulated, the
proofng system must include the colour
gamut to be simulated completely or at
least show a gamut warning.
In a digital proofng system, the gamut
is determined mainly by the combi-
nation of ink and paper. With screens,
this depends on the related phosphors
(CRT) or the interplay of colour crystals
(LCD) and the background illumination.
Both tube and fat screens can exceed
the print gamut in some colour areas.
However, in some cases, not all of the
print colours can be represented,
especially in saturated yellow and cyan-
blue areas.
The colour gamut of offset printing on
paper is indicated in Figure 33 (orange
colour). A typical LCD monitor covers
the offset printing gamut to a large
degree.
Wide Gamut Displays
These displays provide an even larger
than sRGB colour gamut, which has the
ability to display allmost all colours of
the standardized offset presses (e. g.
represented by FOGRA39). Some exa-
mples of wide gamut display models are
listed in Table 3.
Contrast
One aspect of the colour gamut is
the contrast ratio, which is expressed
through the luminance ratio of white
and black point. The contrast should
be at least 200:1. This serves as the
standard characterization for monitors
and is based on measurements in a
darkroom.
Brightness
The brightness of a display is deter-
mined by the measurement of the
luminance and indicated in cd/m
2
. In
order to obtain the same colour appea-
rance between the illuminated paper
in the booth and white area on the
screen, the typical illumination level
should be between 400 and 500 lx, and
the luminance should be between 150
and 200 cd/m
2
. This is clarifed in more
detail in Chapter 1.7.
Figure 33: Comparison of a screen (shown in natural
colours) and an offset printing colour gamut (shown
in red)
Hint!
Luminance: white = 100
cd/m
2
and black = 1 cd/m
2

makes a fare level of 1%
white = 101 cd/m
2
and
black = 2 cd/m
2

makes a fare
level about
2%.
22
Label
Image
EIZO
CG 221
Diagonal 22
EIZO
CG 241 W
Diagonal 24
EIZO
CG 301 W
Diagonal 30
QUATO
IP Intelli Proof 213
Diagonal 21,3
QUATO
IP Intelli Proof 260
Diagonal 25,5
Label
Image
NEC
Spectra View 1990
Diagonal 19
NEC
Spectra View 2090
Diagonal 20
NEC
Spectra View 21
Diagonal 21
NEC
Spectra View 2190
Diagonal 21
NEC
Spectra View 2690
Diagonal 26
Table 3: Example monitors for graphics art by EIZO, NEC and QUATO (February 2008)
23
Stability
A second factor that is sometimes
underestimated in a hard- or softproo-
fng system is the local and temporal
stability. The reproduced colours must
be constant over the entire sheet and/
or screen within narrow tolerances.
The change of the CIExy chromaticity
coordinates during warm-up is shown in
Figure 34. Typically, a stable condition
is obtained after about one hour. Accor-
ding to monitor type, the warm-up time
may be different. Therefore, it is recom-
mended to calibrate the monitor after a
warm-up of two hours.
The visual appearance of a proof/soft-
proof must be the same when evaluated
to a later time (e.g. days later). Problems
can be avoided by daily checks of the
calibration. If needed, a recalibration
should be performed. In practice, you
should review and/or repeat the monitor
calibration at least once a month.
Viewing Angle Dependency
(not viewing angel ;-) )
An fundamental disadvantage of LCD
monitors is still its dependence on vie-
wing angle. Due to the display techno-
logy, luminance and colour can change
with the viewing angle. This deviation of
the perfect refecting diffuser is to this
extent critical because even in a fxed
viewing position, as the outer corners
of the screen are already seen under an
angle of about 20. When head move-
ments or several observers that view the
image simultaneously come into play
the viewing angle dependency becomes
even more critical, see Figure 35.
Measurements by the Fogra show that
current high-quality LCD screens, suited
for softproofng, show colour deviations
of E 2.5 that exist at about 20 to 30
viewing angle, see Figure 35.
It is important to note that the stated
contrast ratio values found in product
brochures are determined for a minimal
contrast of 10:1. However, this statement
gives no information about the colour
variation with varying viewing angle!
One can judge the viewing angle very
well with different test images; for
example, a process grey vignette, or
subjects with skin tones.
Further characteristics
Further important characteristics are
not focussed on in this handbook
include additive mixture failure as well
as the refectivity of the screen surface.
Figure 34: Variation of the CIExy colour values in the warming
up of a screen (EIZO CG221)
Figure 36: Viewing angle situations in the softproof area
Figure 35: Display of colour deviations due to viewing angle
Tip!
Shiny monitor surfaces are not
suitable for softproofng.
24
Requirements for Ambient Illumina-
tion
Illumination plays an important role in
the colour comparison between origi-
nal and reproduction. The perception
is determined by the spectral radiance
of the light and the adaptation of the
eye. The adaptation is infuenced by
the background and surrondings of the
object which are in the feld of view.
The background is the area adjacent to
the sample. Again, colour stimulus is
characterized through the interplay of
the spectral distribution of the light and
the refectance factor of the object. The
infuence of different types of light on
the colour appearance is displayed in
Figure 37.
ISO Standards Defne Guidelines for
visual appraisal
For the colour comparison of print and
proof, as well as for the comparison
of print and monitor basically two ISO
standards have emerged. These stan-
dards serve as the guide for the daily
colour appraisal practice in the graphic
arts industry. These are ISO 3664:1996
viewing conditions for the graphic
technology and photography and ISO
12646:2008 graphic technology dis-
plays for colour proofng characteri-
stics and viewing conditions.
The ISO standard 3664 determines the
criteria and corresponding tolerances
for the viewing booths used for critical
colour appraisal in the graphic arts
industry. It should be noted that ISO
3664 defnes two levels with respec-
tively adapted demands and tolerances.
On the one hand, the critical compari-
son between two prints, ISO viewing
condition P1, and on the other hand,
the practical appraisal for less critical
work, ISO viewing condition P2. The
criteria of P1 is considered to be a
superset of P2. That means that each
viewing booth which fulflls the narrow
tolerances for P1, also automatically
fuflls that for P2. Items evaluated
include:
- Chromaticity
- Visible range metamerism index MI
vis
- Ultraviolet range metamerism index
MI
UV
- Minimal colour rendering index
- Minimal illuminance and homo-
geneity
- Neutral background and diffuse sur-
face refectance
- Requirements for practice such a
hour meter indicator when the lamps
should be replaced

Figure 37: Identical test prints under three different light sources (left: commerical fourescent, middle: D50
Simulator, right: incandescent)
1.7 Viewing Conditions: Evaluation of Standard Lighting
Hint!
For Fogra scrutiny of ISO
3664 compliance, see
page 42.
Parameters for Softproofng - Viewing Conditions: Evaluation of Standard Lighting
25
Importance of the Background (Ceiling
Illumination)
Colour appraisal with standard light
booths seldom take place in totally
darkened rooms. Normally, there is a
general level of illumination. At the
same time, this concerns also the colour
appraisal without use of standard light
booths. The resulting mixture of light
(booth illumination and room illumina-
tion) affects the sample area as well as
the screen and therefore, infuences the
fnal colour rendering. The latter is par-
ticularly relevant for light booth on or
at press stations, which is not typically
equipped with a light shield.
Neutral Wall and Ceiling Paint
The wall paint next to the ceiling lights
plays an important role. Only a small
portion of the light output by the lamp
encounters the print sample directly.
A large portion is refected by multiple
surfaces, where a colored (spectrally
selective) surface will change the light
colour corresponding to the refection
properties. The foor and pieces of furni-
ture can also have a negative infuence.
Ergonomics?
The assembly of softproof working
stations in the vicinity of outside illumi-
nation (or even window) should be avo-
ided. A perfect shielding of the chan-
ging daylight phase (from the sunrise to
the sunset) is ideal. The monitor should
be alligned parallel to the window. This
assures that no light from outside will
disturb the user (no psychic blending/
dazzling). Also refections are avoided
on the monitor screen (see Figure 38).
Figure 38: Optimal monitor placement:
The parallel alignment of the monitor to the window
is good practice, but should be not near a window if
possible. Blinds to stop outside light are not shown in
this illustration, but are needed.
Tip!
Viewing distance should be about
as large as the screen diagonal.
Parameters for Softproofng - Viewing Conditions: Evaluation of Standard Lighting
26
In the following, basic recommenda-
tions are outlined that should help you
in the use of the pertinent programs.
In general, we recommend the use
of branch profles. For example, for
working colour spaces, profles such
as ISOcoated_V2 as a CMYK working
colour space and ECI RGB as a general
RGB working colour space. These colour
management settings are normally set
in a way that profle mismatches will
result in a warning message and the
number of colour transformations are
minimized.
Special ICC checker profles help to
test whether a program or operating
system honors the monitor profle for
the image to be rendered. Such a test
profle can either swap the colour chan-
nels or it can be constructed in such a
way that all colours are reduced to a
single colour. On the Fogra webpage,
you can fnd a CMYK profle, which,
when applied to a picture, will output
only red colours. A similar RGB test
profle is supplied, which will only show
green colours. ( http://forschung.fogra.
org/index.php?menuid=62 )
To test if your application honors the
source profle, just load this picture
Rot wie die Liebe (which is a German
saying and means Red like love or
Roses are red). If the source profle of
the picture is honored, the picture will
be shown in red colour. If not, it will be
shown blue (see Figure 39) . Note that
this test only helps you to determine, if
a monitor profle is used at all. It gives
no information how accurate a monitor
profle is.
As noted, these settings can deviate in
individual cases. However, in practice,
they have proved themselves to be
well-made. The dialogue box in older
Photoshop versions can be adjusted
accordingly.
Figure 40: Recommended colour settings in Adobe Photoshop CS4
Adobe Photoshop CS4
Figure 39: False colour profle (so called checker profles)
2. Softproofng Settings in Software Programs
Attention!
The choice of absolute colorime-
tric rendering intent (RI) assures
that the info palette shows the
correct CIELAB values. Be aware
that colour conversions via mode
changes will use the rendering
intent defned in the colour
settings too (Image > Mode >
CMYK). Colour conversions should
always be done via Edit > Con-
vert to profle to have maximum
control. Also when importing
documents in InDesign the default
conversion options will be used.
Therefore it might be needed to
switch rendering intent to percep-
tual or relative colorimetric (with
or without) black point compen-
sation.
Hint!
This csf fle is available
on the Fogra website
for downloading.
Softproofng Settings in Software Programs
27
Quark XPress
XPress is being tested at the present
time with respect to its softproofng
capacities. Basic review and settings
for softproofng with Quark XPress are
planned for the next version of this
handbook.
Adobe InDesign CS3
It is assumed that all CMYK fles placed
in the layout were prepared already for
the intended printing condition and
need no more conversion.
Older Versions
InDesign 3 (CS1) does not offer the
option to preserve numbers under
the colour management guidelines.
Therefore, InDesign CS1 was to be set
in a way that the source profles are
retained, see Figure 42. An unwanted
CMYK-to-CMYK transformation is avo-
ided when the placed CMYK contents
are already separated (converted) for
the intended printing condition and the
same profle is assigned to the docu-
ment.
Figure 41: Recommended colour settings in Adobe InDesign 5 (CS 3)
Figure 42: Recommended colour settings in Adobe InDesign 3 (CS 1). The setting choosen is Preserve embedded
profles
28
Adobe Acrobat Professional
In Acrobat Professional, there are two
places where to alter the colour set-
tings. For colour management, the wor-
king colour spaces are determined here,
see Figure 43. In order to guarantee
conformity for PDF/X-fles, one should
take note that the option Output Intent
overwrites the active working space.
Figure 43: Recommended colour settings in Acrobat Professional 8.0
29
Under Page Display, there are settings
that will also determine the representa-
tion of fles on screen, see Figure 44.
Figure 44: Recommended items to review for the display in Acrobat Professional 8.0
Softproof Settings in User Programs
30
The explanations in Chapter 1.3 about
calibration, characterization, and
profling can be supplemented by
this section in a more detailed, but
general form. Here, we explain the
general concepts, while on the Fogra
web page manufacturers of monitor
calibration solutions describe the spe-
cifc settings and options accordingly
(http://forschung.fogra.org/index.
php?menuid=19). In this chapter, we
explain all possible parameters that
could be altered. If a calibration pro-
gram does not provide the ability to
alter a specifc attribute explained in
this chapter (e.g. very few programs
and monitors allow measurement and
then adjustment of the gamma setting
manually), the setting has to be ignored
by the user.
Target Settings: Luminance, White
Point (Colour Temperature) and Gra-
dation (tonal scale)
A basic goal of a calibration is a percep-
tual uniform differentation of available
lightness levels. Also, the technical
features of a device should be used
in a way that the target settings are
achieved, and the colour rendering of
the device is not limited in any way.
The best choice of target settings is
dependent on the actual use case. The
third use case softproof at the press
control station is not explained here,
since more experiments have to be
conducted.
Luminance
In the case of the comparison of a print
sample to a screen, a luminance match
between the paper white in the booth
and white displayed on the screen is
the goal. This is obtained through an
interactive adjustment of the luminance
control of the booth (dimmer) and the
luminance control of the screen (the
control is often labeled brighness). For
typical illumination levels about 500 lx,
a luminance of about 160 cd/m
2
is the
prerequisite of a good lightness match.
The calibration can be done visually
and/or by means of measurements. It
should be noted that the monitor should
not be adjusted to its maximum lumi-
nance because over time the maximum
achievable luminance of all displays will
degrade.
In a Photographer Workfow, it is good
practice to adjust the luminance to a
level of 160 cd/m
2
. According to the
ambient illuminance level, however, a
lower or sometimes a higher luminance
can also be appropriate. In a Photo-
grapher Workfow a good monitor
luminance is achieved when white areas
on the desktop or in an image dont
look greyish, and also, the lightness of
the image is not unpleasant or blin-
dingly high. If the ambient illumination
level changes, the monitor luminance
should also be adjusted accordingly. By
dimming the background illumination
of fat screens (in the OSD, On Screen
Display menu) the luminance can be
adapted by many monitors without
severely affecting the accuracy of the
monitor ICC profle.
White Point (Colour Temperature)
The white point is usually adjusted frst.
For a hardware calibrated display, the
white point and other parameters are
set automatically. In a software calibra-
tion, red, green, and blue are regulated
as the three channels by gradation
curve corrections on the graphics card.
To fnd the best target white point, acti-
vate the softproof in your application
and use an absolute rendering intent for
the display (in Adobe applications this is
achieved by choosing the option Simu-
late Paper White). Then, test which
white point setting will give you the
best match of the white in the softproof
to the white of the paper stock. To fnd
the best setting you can try to calibrate
to different target colour temperatures
or target white points (xy). Some moni-
tor calibration solutions offer a tool to
visually fne-tune and recalibrate the
white-point.
A colour temperature (CCT) in the range
between 5000 to 6000 K might be
optimal. Many users prefer values bet-
ween 5300 and 5800 K. The calibration
to a target white point which differs
from 5000K is not wrong, but takes
into account that the eyes perception
of a self-luminous monitor might be
perceived somewhat different to an
illuminated unprinted substrate having
an own coloration. This is due to the
partly unknown mechanics of chro-
matic adaptation. A tolerance measured
of 100 K is often not critical for the
white point. In the Photographers
Workfow, the white point can be
selected somehow freely because the
eye adapts itself to the white point.
However, here, the white point should
ft the environment. As a rule, a white
point between 5000 and 6500 K is per-
ceived as neutral.
3. Calibration: Step-by-Step
Hint!
Further information on
the gamma settings can be
found on page 37.
Hint!
A low illumination level is
recommend. This helps to
achieve a stable adaption
to the monitor white point.
Furthermore it minimizes
distracting infuences of
a somewhat colored
illumination (if
present).
Calibration: Step-by-Step
31
Gradation
Next, the gradation of the colour chan-
nels is adjusted by red, green, and blue.
The functional relationship between
digital input value and resulting output
value (e. g. luminance) is often designa-
ted as a gamma function.
It is common to use a gamma setting
between 1.8 and 2.4 (see Table 4). Here,
also lies the so-called CIEL* calibration,
whereby the above corresponds to the
lightness function defned in the CIELAB
encoding space.
Photographers Workfow Reproduction Workfow
Colour
Settings
Luminance
(brightness)
160 cd/m
2
1. Luminance adjustment with blank paper in cabin
2. 160 cd/m
2
White point (colour
temperature)
5800 K
1. Colour adjustment with blank paper in booth
2. 5000 K
Gradation (tone value
curve)
1. CIEL*
2. Gamma = 1.8
3. Gamma = 2.2
4. Gamma = sRGB
1. CIEL*
2. Gamma = 1.8
Monitor
Settings
Type LCD and/or CRT
Calibration Hardware calibration (if not possible, software calibration)
Profle
Settings
Type (size) 16 Bit (large)
Chromatic Adaptation CAT02 (from CIECAM02)
Table 5: Target values for typical softproof applications.
Please be aware that those target values should not be seen as the Fogra recommendation, but to be used as a starting point if one is unsure which values to choose. See the
Fundamentals section of this handbook and the recommendations in the text how to fnd the best target values for your setup.
Colour Temperature Gamma/Gradation Comment
Adobe-RGB 6500 K 2,2
Apple-RGB 6500 K 1,8
ECI-RGB 5000 K 1,8
ECI-RGB V2 5000 K L*
Photogamut 5000 K 2,2 optimized for print gamut
ProPhoto-RGB 5000 K 1,8 extremely large
sRGB 6500 K sRGB (~ 2,2) Standard for offce documents and amateur devices
ISOCoated_V2 P1 (ISO3664) CMYK standard colour space for offset printing
Table 4: Colour temperature of white point and tone response of typical colour encodings.
32
General calibration procedure
1. Examination of the Surroundings
To examine this, both neutral grey wall
paint and general illumination with a
colour temperature of about 5000 K are
required. Furthermore, there must not
be any colorful items or other objects,
such as post-it notes for comments, in
the visibile feld of the viewer. Some
calibration programs offer the function-
ality to measure the ambient light. With
this, the colour temperature and the
illumination level (measurement of the
illuminance in lux) can be estimated.
2. Warm-up Phases and Cable Con-
nections
Let the monitor sit for about two
hours after it is turned on. Be sure that
the optimal signal connection exists
(digitally rather than analog) and the
communication between computer and
monitor is guaranteed, for example with
DDC (by means of a suitable DVI cable)
or USB cable. If required, calibrate the
measuring instrument when the soft-
ware asks for it.
3. Defnitions of the Target Settings
Start the calibration software, and
determine specifcations in accordance
with Table 5 and/or the ambient light
measurements. Start the calibration.
3.1 Hardware Calibration
When monitors with incorporated cor-
rections are used (e.g. correction curves
for red, green, and blue), no further
intervention of the user is necessary
because all correction steps needed
have been automatically performed by
the software.
Defnition of White Point:
The lightest neutral colour that might
serve as a reference for the colour
adaption. Expressed in CIEXYZ (where Y
indicates the luminance).
Defnition of Black Point:
The darkest neutral (CIExy colour coor-
dinates of the white point) colour. This
may require an average of several mea-
surements due to measurement noise.
3.2 Software Calibration (Manually
Supported)
If the monitor does not support hard-
ware calibration, all parameters should
be adjusted by means of the controller
and tuners at the monitor. The remai-
ning inaccuracies will be compensated
in the further calibration with the help
of corrections to the graphics card.
3.3 Software Calibration
If the screen offers no substanial control
possibilities, a software calibration must
result, which the user does not have
control of.
4. Storing the Monitor Profle
After the calibration and profling is
complete, name the monitor profle with
a suitable flename. It is recommended
to include the following: monitor type,
date, and target values in the form of
luminance, white point, and tone value
curve. For example, 160_D50_Lstar or
120_D55_18.
5. Visual Examination
A visual examination is recommended.
Some calibration solutions offer options
to fne-tune the calibration. This can
be achieved by means of the monitor
LUT or the graphics card LUT or by mea-
suring a visually optimized whitepoint
which is used in a second calibration as
the new aim white point. To fne-tune a
calibration use a display program with
ICC colour management (e.g. Adobe
Photoshop), and review the represen-
tation based on a reference image (e.g.
offset print sample with its specifc
simulation profle). Then, by means of
the available correction possibilities
(gradation curves and/or white point),
match the screen image with the refe-
rence print sample in the viewing booth.
Finally, depending on the options of the
calibration software, recalibrate and/or
replace the original profle with the new
profle.
Tip 1!
For the mixture of white and black
wall paint, it should be noted that
the resulting colour should be
tested for its neutral colour appea-
rance. Example: Measure a paint
sample with the EyeOne Pro. Target
value: L* = 38 - 82, C* <2
Tip 2!
Deactivate all screen savers.
Tip 3!
During and after the calibration, a
Fogra test image can be used for
visual inspection of the monitor.
Download at: www.fogra.org
Hint!
The black point is not
always the darkest colour
possible (similar to offset
print), so that a higher con-
trast can be obtained (e.g.
darker black value). It must
be decided in the indivi-
dual case between
the neutrality of
the depths and
contrast.
Hint!
DVI-I can also transmit
analog signals.
33
Advice for visual adjustments
If you perform a fne visual djustment of
the calibration, it is very important that
you are confdent that your reference
print is of high accuracy. In many cases
a visual fne-adjustment is not needed.
But for highest quality an experienced
user can make use of visual fne-adjust-
ments. Be aware that altering the moni-
tor or graphics card LUT can introduce
banding in gradients which should look
smooth. If possible a recalibration to an
optimized target white point should be
preferred.
6. Proper Technical Examination (Vali-
dation)
In examination of the monitor, device
independent values (RGB) are sent via
the display profle to be tested to at the
screen. The resulting colour is measured
and compared to the desired values
(that the generated ICC profle predicts).
From that, colour differences are cal-
culated and shown for judgment of the
calibrations quality.
7. Regular Calibration
After the calibration of the softproof
station, the question remains of when
to test the calibration. In the beginning,
at least a weekly inspection should
result by means of the visual and/or
technical test.
34
In this chapter, there are examples
both for the Photographers Work-
fow and Reproduction Workfow in
Adobe Photoshop 9 (CS2). While in the
Photographers Workfow, the soft-
proof shows the colours of an RGB fle
which is yet not prepared for a printing
condition, while in the Reproduction
Workfow a softproof simulates a prin-
ting condition. Confgure Photoshop
in accordance with the basic settings
described in Chapter 2.
Dialogue Boxes:
The Softproof Control Center where
you can customize the proof condition
for the softproof is found under the
menu View > Proof Set-up, see Figure
65 and Figure 66.
Figure 65: The Softproof Control Center in Photoshop
Figure 66: Softproof settings: Image separation (data processing) options and settings for the rendering to the screen.
4. Hands on: Softproofng of RGB and CMYK
Images with Adobe Photoshop
Hint!
Photoshop does not always
indicate all Display Options
(on screen). This depends on
the profle characteristics of
the involved ICC pro-
fles and the number
of channels to be
softproofed.
Tip!
Please note the separation of
Proof Conditions where the
conversion options are set and the
Display Options (On-Screen) to
confgure the output to the display.
Practice Examples: Softproofng of RGB and CMYK Images with Adobe Photoshop
35
Figure 67: Colour transformation: How does my data really look?
Colour Transformation:
Photographers Workfow versus
When the colour (pixel) values of the
fle should be shown bindingly this
is a typical scenario for a photographer
who wants to know which colours
are in the fle. Therefore the colours
of the fle (image encoding) have to be
converted absolute colorimetric to the
monitor. This is reached with the cur-
rent monitor profle being adjusted to
simulate the device, see Figure 67.
To simulate how the data fle looks on
a specifc output device, the data has
to be converted for this output device.
Then, the converted data is displayed
absolute colorimetrically on the display.
This task exists both in the Photogra-
phers Workfow and Reproduction
Workfow. To achieve this, the ICC
profle of the device is selected as the
simulation profle, whose colour result is
being tested. Please note that this will
only work up to Photoshop CS1 for RGB
encoded pictures when using the Adobe
CMM (or ACE). For CS2 and greater this
functionality can be achieved with the
Apple or Windows CMM.
Another possibility is to bypass proces-
sing (separation). In this case, the RGB
or CMYK colour values of the image fle
are sent directly to the simulation pro-
fle and followed by an absolute colori-
metric representation. This shows how
a fle will come out on a specifc device
if no prior colour conversion has been
done. Figure 69 displays this example
with a CMYK image.
Hint!
Figure 67: Colours out-
side of the screen gamut
are cut off (clip-
ped).
36
Figure 68: Colour transformation: How does my fle look when processed with a perceptual intent in respect to
ISOcoated_V2?
Figure 69: Colour transformation without new processing and absolute colorimetric representation.
Hint!
Figure 68: Relative colorimetric
with black point compensation
is also common for image
data conversion (sepa-
ration).
37
The measurement of light forms the
base for an exact representation of the
original scenery. Herewith, the funda-
mental measurements are to be referred
to as luminance, illuminance, lumi-
nous intensity, and luminous fux. For
digital photography, the illuminance,
as well as the luminance, are of impor-
tance, which are described in the fol-
lowing section. In light measuring, one
distinguishes between light measure-
ment and object measurement. Light
measurements characterize the pro-
perties of a self-emitting light source.
Object measurements describe the pro-
perties of the light that is refected from
an object.
Luminance, L
The luminance L, is correlated with the
subjectively perceived lightness and
brightness of self-emitting light source
or an illuminated area. The unit of the
luminance is Candela per m
2
(cd/m
2
).
The luminance should not be confused
with the lightness. To determine the
luminance of a light source, for exam-
ple, a foodlight, you must divide the
luminous intensity (cd) of the lamps
in viewing direction by the projected
area in m^2 which is seen (light mea-
surement). The luminance of an object,
which is not self-emitting light, is cal-
culated from illuminance E in front of
the object and the coeffecient of refec-
tion (so-called object measurement).
This simple calculation assumes that the
illuminated object refects the incoming
light perfectly and diffuse. By Equation
1, it is clear that with a well-known
luminance and illuminance, the coef-
fcient of the refection can be calcu-
lated. With the same illuminance, the
luminance of an object with large is
higher than with a smaller refection.
Illuminance, E
In contrast to the luminance, which
describes the light intensity thrown
back by the object per area, the illumi-
nance, E, indicates how brightly the
object is illuminated. Therefore, it con-
cerns a light measurement. The unit of
the illuminance is the Lux (lx).
where
is the luminous fux
A is the illuminated area
The luminous fux of a light source indi-
cates how much light is issued into all
directions of the surrounding room. The
unit of the luminous fux is the Lumen
(lm). The illuminance is divided in half
with the square of the distance to the
light source (double distance: of the
illuminance). Over how many orders of
magnitude, the illuminance can vary in
the daily life, is illustrated in Figure 72.
Figure 72: Typical illumination levels.
Figure 71: Illuminance
Figure 70: Luminance
5. Fundamentals and Concept Explanation
5.1 Description and Measurement of Light (Photometry)
Equation 1
L =
(E )
Equation 2
E =
A
Fundamentals and Concept Explanation - Description and Measurement of Light (Photometry)
38
Exposure, H
The light quantity which infuences over
a certain period, t, of an area is called
exposure. It is, therefore, the product
out of illuminance and time or luminous
fux multiplied by time divided by area.
The exposure is represented often in a
logarithmic scale. The task of the photo-
grapher or the automatic exposure con-
trol mechanism is to select the exposure
time dependent on the light surroun-
ding to the camera and the refection of
the object to be photographed, so that
all important details can be captured.
The exposure is determined by the time
and illuminance. This is adjusted over
the opening aperture (aperture stop or
f-stop) in the lens. It is referred to as
the aperture number or aperture stop, K.
Equation 4
k =
where
k is the aperture number
f is the focal length of the lens
D is the diameter of the aperture
In the establishment of the aperture
number, k, it is meaningful to obtain a
duplication or halfng of the incoming
light with every change of k. Such a
variation of the aperture opening by a
factor of 2 makes a required change of
the aperture diameter by a factor of 2.
For this reason, aperture numbers are
even powers of square root of 2 (1; 1.4;
2; 2.8; 4; 5.6; ...).
Colour Stimulus
The physical spectrum, which is recei-
ved by a human observer or a technical
image capturing device indicates the
colour stimuli.
Equation 3
H = E t
Fundamentals and Concept Explanation - Description and Measurement of Light (Photometry)
f
D
39
In supplement to the prior section, the
spectral power distribution (SPD) of the
light source is discussed in the following,
as well as chromaticity, colour tempera-
ture, and colour rendering index.
The illuminant (tabulated data) or
light source is described by the relative
spectral radiation distribution of a light
source, which is comparable to the
spectral refection factor of non-lumi-
nous colour. Therefore, it represents a
comprehensive colorimetric description
of primary light sources. For measure-
ment, a spectroradiometer is necessary,
which is expensive and often only found
in larger laboratories. The Figure 73
shows a spectra typical for common
illuminants.
The spectral peaks of 410, 450, and 550
nm exist due to the gas discharge in the
mercury steam, which represents the
base for light creation in fuorescent
tubes. Dependent on the composi-
tion of the gas mixture, there are two
essential types: HMI and HTI. The HMI
lamps posess a large colour rendering
index, while the HTI lamps have a high
luminance. Table 6 explains the abbre-
viations.
Chromaticity and Colour Temperature
The chromaticity of a light source or an
illumated object is specifed as chro-
maticity coordinates x, y. Tristimulus
values, which differ only through lumi-
nance (CIE Y) from one another, have
the same chromaticity. The plot of all
chromaticity coordiantes of the spectral
lights (only emitting at one wavelength)
will result in a horseshoe type diagram.
The chromaticity coordinates CIEx =
0.3457 and CIEy = 0.35854 represent
for example the chromaticity of the
illuminant (CIE) D50.
Colour Temperature
The temperature of the colour of a
light source is determined by how it
compares to the colour of a black
body. This is an idealized hollow body,
for example out of platinum, that
absorbs all light that falls on it. If a
black body is heated, it glows and
emits light. At the same time, it passes
through a colour scale of dark red, red,
orange, yellow, white to the light blue.
The corresponding curve in the chroma-
ticity diagram is named Planckian locus,
see Figure 74. The unit of the colour
temperature is named Kelvin (K), occasi-
onally also called degree Kelvin.
In practice, it is very rare that the CIExy
of light sources (e.g. displays) lie exactly
on the Planckian locus. In this case,
one indicates the so-called correlated
colour temperature (CCT). It is described
in the standard DIN 5033-8. Both the
colour temperature and the correla-
ted colour temperatures say nothing
about the spectral power distribution,
but rather serve only as a indication
whether a colour is more reddish, neu-
tral, or blueish. The light of lamps of the
same light colour (colour type of the
light type) can have a clearly different
spectral composition and can evoke,
therefore, also a clearly different colour
rendering.
Colour Rendering Index (CRI)
The colour rendering index serves as
the numerical indication of the colour
rendering characteristics of a light
source against a reference light source.
With this, a colour test procedure is
used, which determines and values the
colour shift between the tristimulus
values under the reference and the test
illuminant. The colour difference is to
be calculated in a perceptual uniform
colour space. The standard DIN 6169
defnes, for example 14 colours and the
UVW colour system to calculate the
colour difference. Based on the colour
difference found for each test colour,
the general colour rendering index, Ra,
is calculated after an empirically deter-
mined relation, see Equation 5.
For the determination of a special
colour rendering index, other test
colours can be used, if necessary. Both
the test colours and the colour diffe-
rence formula used to have to be stated.
Figure 74: Chromaticity cooardinates of the black body
(dotted line) and chromaticity coordiantes of a RGB
system (defning the gamut as shown in the triangle).
Table 6: Symbols of gas mixtures in lamps
Figure 73: Spectra of a fuorescent bulb:
Abbr. Meaning
H Mercury (Hg)
I
Iodide, Bromide
(Halogen compound)
M
Base metals (Alkaline
earths: Holmium,
Dysprosium)
T Daylight
5.2 Illuminant, Chromaticity, and Correlated Colour Temperature
Fundamentals and Concept Explanation - Illuminant, Chromaticity, and Colour of Light
Equation 5
R
a
= 100 - 4.6 E
i
40
Most likely, the largest uncertainity in
prepress is the concept of gamma.
Aside from the photographic gamma,
which describes the section of the linear
part of the exposure vs. density chart,
we encounter several defnitions of that
term in the digital prepress area. The
characteristic correlation between the
control voltage and the tube current of
a CRT screen is often called monitor
gamma.
Under the assumption that the analog-
to-digital converter and the reaction of
the phosphors are linear with respect
to the electron current, it can be said
that the monitor gamma is also the
connection between digital colour
value and optical quantities, such as
the luminance. It is also designated as
a system gamma because it describes
the total system out of computer, soft-
ware, graphics card, and monitor. Such
a system gamma, also applies to LCD
monitors, but here there is no electron
gun.
Gamma serves as the exponent in
Equation 6 or the slope of the transfer
function of these quantities in a two-
fold logarithmic representation (Equa-
tion 7).
where
Y luminance, normalized to 1
X for example normalized (1) R, G or B
value of the input signal
is the monitor gamma
A representation of common tone values
and gradations curves is represented in
Figure 75.
Which gamma is the best?
If a job was calibrated and profled,
then the choice of the gamma value
plays only a secondary role. The cha-
racterization, for example by means
of an ICC monitor profle, guarantees
the complete description of the display
independent of how gamma was adju-
sted. Therefore, how an image looks on
a Windows PC with a gamma of 2.2
should look about the same on all cali-
brated and profled monitors. It is even
similar to a calibrated Mac monitor with
a gamma of 1.8.
Figure 75: Representation of different gamma values, as well as CIEL*.
5.3 Gamma and its Disguises
Fundamentals and Concept Explanation - Gamma
Equation 6
= X
Equation 7
g=
lg Y
lg X
41
Matrix Transformation
The matrix-based transformation with
a tone value reproduction curve (TRC)
is used if the device to be characterized
(e.g. a screen) shows a linear behavior
between device dependent control
values and the resulting colour values.
For maxtrix profles the CIEXYZ colour
space is used as the PCS (Profle
Connection Space) instead of CIELAB,
because CIEXYZ scales linear with
intensity. Matrix-based profles have
a small fle size, which is about 4 to 8
KB. Consequently, they ft well for the
defnition of a working colour space.
With the use of matrix profles, it is
esay to achieve that equal RGB combi-
nations (grey balance) will also always
be rendered neutrally. The connection
between the device dependent RGB
colour value and the PCS is represented
with the matrix model in Figure 76,
whereby the calculation is possible in
both directions.
In Figure 76 the RGB values are to be
linearized by gradations curve (TRC) and
subsequently subject to be converted
with a 3x3 Matrix into the XYZ coor-
dinate of the PCS. For the reverse, to
achieve linear RGB values the XYZ tri-
stimulus values are converted with the
inversed 3x3 Matrix . The device specifc
RGB values result after applying the
inversed TRC curves to the linear RGB
values.
LUT Transformation
The multi-stage conversion with LUTs is
described in the following:
- for every input channel, a tone value
reproduction curve
- a multi-dimensional table
- for every output channel, a tone value
reproduction curve
- additional matrices in specifc V4
profle tags
For example the conversion from a
colour encoding space with 3 primaries,
e.g. ECI-RGB, to an encoding space with
4 primaries, e.g. ISOCoated, can be ima-
gined as a cube with many grid points
[Figure 77].
In this example the conversion from
RGB values to CIELAB is done frst by
means of a source profle. For every grid
point in CIELAB encoding the corre-
sponding CMYK aim values are stored.
The RGB code values R=G=B=128 are
converted to CIELAB values [L* = 61,
a* = 0, b* = 0]. As described above a
matrix/TRC transformation by means of
ECI-RGB profle is used in this case.
The separation with perceptual rende-
ring intent of the ISOcoated profle is
specifed in the BtoA0 table. In the exa-
mple the following CMYK values result:
[C = 38, M = 30, Y = 28, K = 11]. For
CIELAB values that do not lie on a grid
point, the CMYK values are interpolated.
The interpolation is done by the CMM.
The CMM is normally integrated into
the operating system. Figure 77 illus-
trates the conversion sequence when
the tone reproduction curves (TRC) of
the input and output are not altered.
The CIELAB values are used in the thre-
dimensional colour look up table (CLUT).
The fgure illustrates how the resulting
CMYK values for a sample colour are
calculated.
Figure 76: Schematic representation of the matrix transformation in an ICC profle (Source: Fama Skript)
Greylevels
RGB
R
G
B
X
Y
Z
Monitorprofle
Matrix
-1
3x3
TRC
re d
TRC
green
TRC
blue
R
lin
G
lin
B
lin
Figure 77: Conversion with a multi-stage transformation
5.4 Matrix or LUT (Lookup Table Profle)
PCS: Profle Connection Space
TRC: Tonevalue Reproduction
Curve
CMM: Colour Matching Module
Fundamentals and Concept Explanation - Matrix or LUT (Table Profle)
Kosten
EUR 1.500, zzgl. MwSt.
Fr Fogra-Mitglieder
[30 % Rabatt]
EUR 1.050, zzgl. MwSt.
zzgl. Reisekosten
Preise gelten fr maximal
4 Kabinen bzw. 4 verschie-
dene Beleuchtungsszenarien
[z. B. verschiedenen Beleuch-
tungsniveaus, Lichtfarben,
variabler UV-Anteil, ]
bersetzung: zzgl. EUR 200,
Costs
EUR 1.500,00 excl. VAT
For Fogra members
[30 % discount]
EUR 1.050,00 excl. VAT
Travel costs to be added
Prices for a maximum of
4 cabinets or 4 different
illumination set ups
[e. g. illumination levels,
illuminants, variable UV-
content, ]
Translation: EUR 200,00 extra
Information Mnchen, Oktober 2007
berprfung Ihrer Abmusterkabine gem
ISO 3664 unabhngig und kompetent
Die kritische Abmusterung von Farben
ist fr die tgliche Produktion in der
grafischen Industrie von hoher Bedeu-
tung. Fehlurteile aufgrund einer falschen
Beleuchtung fhren fast zwangslufig
zu Reklamationen und damit zu erhh-
ten Kosten im Produktionsprozess. Die
ISO-Norm 3664 definiert hierfr ver-
schiedene Kriterien hinsichtlich der
Gtesicherung fr die farbverbindliche
Abmusterung. Beurteilen Sie Ihre Far-
be korrekt und zuverlssig und lassen
Sie dafr Ihre Abmusterkabine von der
Fogra berprfen.
Gem ISO 3664:2000 prfen wir:
Farbwiedergabe [allg. und spezieller
Farbwiedergabeindex]
Farbwiedergabe [Metamerie-
index MI
vis
]
Korrekter UV-Anteil [Metamerie-
index MI
UV
]
Farbgenauigkeit [D50]
Homogenitt
Umfeldbeschaffenheit
Wartungsvorrichtungen
Durchfhrung & Dauer der Prfung:
Tag vor Ort [nach Terminverein-
barung]
Ergebnisbericht innerhalb der
folgenden 3 Wochen
Impressum/Kontakt
Imprint/contact
Fogra
Forschungsgesellschaft
Druck e.V.
Andreas Kraushaar
[Dipl.-Ing.]
Streitfeldstrae 19
81673 Mnchen, Germany
Tel. +49 89. 431 82 - 335
Fax +49 89. 431 82 - 100
kraushaar@fogra.org
www.fogra.org
Practical viewing
conditions for soft
proofing [Color Communi-
cator of Just Normlicht].
ISO 3664:2000 Betrachtungsbedingungen fr die graphische Technologie und die Photographie.
ISO 3664:2000 Viewing conditions Graphic technology and photography
Bezug/How to get: Beuth-Verlag, Berlin, www.beuth.de
Scrutiny of your viewing cabinet
according ISO 3664
Since deficiencies in light sources and
viewing conditions, and inconsisten-
cies between colour viewing facilities,
can distort the colour appearance of
substrates, reproductions and artwork,
they are likely to cause miscommuni-
cation about colour reproduction and
processing. Ask Fogra for objectively
testing the specifications for illumina-
tion and viewing conditions that, when
properly implemented, will reduce errors
and misunderstandings caused by such
deficiencies and inconsistencies.
Based on ISO 3664:2000 we check your
cabinet with respect to:
Colour rendition [general and
special colour rendering index, CRI]
Colour rendition [CIE visible range
metamerism index MI
vis
]
Correct UV energy [CIE UV range
metamerism index MI
UV
]
Colour accuracy [D50]
Homogeniety
Ambient conditions
Maintenance
Duration of the test:
day at the vendors premise
[after appointment]
written report within 3 weeks
Praktische Abmusterungs-
bedingung fr den SoftProof
[Color Communicator der
Firma Just Normlicht].
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